The new Deerhoof-LP is pretty confusing. Can music, which is conceptually, technically and in terms of production, interesting, at the same time consist of mostly unenjoyable tunes? It seems possible. In any case, if one listens through Deerhoof’s twelve album-long history, to which this album adds another exciting chapter, it can be fathomed as a very rich collection of study material and a musical treasure chest, which can hardly be outbalanced in terms of imagination and creativity. The same ride through their history lets me come to the conclusion that they haven’t really managed to produce one good song, though. Even because the break of this noise-variation of Indie is part of a permanent stylistic instrument, but also because the production always seems to be in the focus of Deerhoof’s productions and because one is always seemingly in a position of second order when listening. As whenever something like a cosy predictability or a dramaturgic anticipation slides in, Deerhoof send in something completely different, or at least a rhythmical break. This is interesting up to some point and because of the virtuosity of the band definitely worth listening to, but at some stage, it comes down to an exercise without soul, without idea and direction. In any case, for a short time, Kelly Goode evokes a pleasantly warm sense of well-being when he prepares for a surprisingly conventional hookline on »The Trouble With Candyheads«. Is it the curse of The Fall, to make music for musicians in the end? Or is it all completely different? Maybe the thirteenth album will show.